This is an unplanned for addition to my post, 5 Essentials for Space Opera, written on request. So here I go, exploring the last frontier in space opera (for me anyways).
Let me back up a bit to give some definitions of space opera and some for hard SF. Hard SF isn't very dramatic or melodramatic in some cases. It's serious, and focuses more on the science than the characters or story. The laws of physics are absolute and can not be broken. Hard SF is quite popular in books and often is what give SF the adjective "atheistic." Many are. I haven't read any that aren't, but there are probably some out there.
Space opera, on the other hand, is the opposite. Space opera focuses on the grand scales of conflict, adventure, and personal conflict or drama. Rules of physics are there to be broken, often literally. Space opera has very little regard for current science.
I italicized the personal conflict or drama (And shall continue to do so) because it's what truly what drives space opera and puts a head and shoulders above the other genres. (Military SF, Golden Age, and steam/diesel-punk come close). It's the characters.
Stories about aliens, galactic empires, epic starships, aren't exactly relatable. Stories about inter-familial conflicts are. Aliens, rebellions, starships, and scruffy rogues just make them more interesting than your average soap opera or random neighbor down the street. We know how how personal problems feel; the nervousness, the indecision, the fear. That sickening, roiling feeling in the stomach. You know what I'm talking about.
I'm not sure how much more I can say; so I'll provide examples.
Star Wars: The Original Trilogy: Han, Leia, Chewbacca, Luke, R2-D2, and C-3PO are the driving charters in these three movies. Luke is the main character whose change and growth along the lines of the Heroes Journey is the main subject for the story. Han and Leia create the romantic sub-plot. Their fights; reconciliations, and acceptance draws viewers along for the movies. R2 and C-3PO add comic relief and aid in repairing damaged X-Wings. They add humor to what could otherwise be a grim affair.
Star Wars: The Prequel Trilogy: The driving characters are Obi-Wan Kenobi, Chancellor Palpatine, Padme Amidala, and Anakin Skywalker. Anakin and Padme are the two main driving characters; their forbidden romance brings about Anakin's fall to the Dark Side. Palpatine facilitates it and drives the entire Clone Wars with his schemes. Obi-Wan tries to keep Anakin on the good side, as well as healthy and fine. Their interactions make what could be a standard pre-war conspiracy story in a galaxy far, far, away into a tense and emotionally rich story.
Star Trek: The Original Series: (Are you seeing a pattern?) The driving characters are, of course, Captain James Tiberius Kirk, Spock, Scotty, and Doc McCoy. Spock and McCoy are the most relatable; since they're great friends yet constantly argue with each other. Kirk adds some philosophy, and Scotty adds somewhat of common sense.
Without unique characters who don't have conflicting personalities, space opera can quickly fall into unbearable melodrama.
Showing posts with label space opera. Show all posts
Showing posts with label space opera. Show all posts
Saturday, August 27, 2011
Monday, May 30, 2011
5 Essentials for Space Opera (tongue in cheek of course, but I mean every word)
This was written for an online writer's group I'm in for science-fiction month. So, without any further ado...
Space opera is the iconic sub-genre of science fiction for most people. Just mentioning the magic words “science-fiction” brings to mind images of lasers, starships, and colorful (though sometimes flat) characters. I’ve assembled my own personal list of 5 essentials to make a good space opera. Explanations may or may not appear. Starships are definitely an important part, but I couldn’t find room for them in the list.
Space opera is the iconic sub-genre of science fiction for most people. Just mentioning the magic words “science-fiction” brings to mind images of lasers, starships, and colorful (though sometimes flat) characters. I’ve assembled my own personal list of 5 essentials to make a good space opera. Explanations may or may not appear. Starships are definitely an important part, but I couldn’t find room for them in the list.
#5: FTL FTW!
Translation please? FTL FTW is an acronym made of two separate acronyms that stands for the phrase “faster than light travel for the win.” That’s quite a mouthful there. More importantly, what does that mean? Well, one of the key elements of space opera is a big setting. That takes really, really fast travel methods to prevent you’re story from becoming the space version of a road trip without thequaint interesting little towns along the way. A pretty boring trip unless you like watching the constellations change shape.
#4: Giant Super-weapons
These monstrous symbols for man-kind’s ruthlessness and technological weapons improvement bring about high stakes and pulse-pounding adventure while oftentimes thumbing their nose at modern science (or treaties). Perfect for space opera, aye? Seriously though, space opera is all about being big and exciting. Plus, there are brownie points involved from the special effects, sometimes billions of dollars of profit. (Avatar anyone?)
#3: Battered Freighters
Maybe it has to do with the plucky underdog valiantly fighting better, more modern ships, but battered are almost a staple, nay, a cliché of the genre. Albeit, a lovable one, much like those scruffy rogues who pilot them. Or, perhaps, it’s the rogue that makes the ship. Nah, definitely the ship. Star Trek, in my opinion, is not that great of a space opera for several reasons, from boring costumes to not being all that fun for the whole family (a whole different post), plus the heroes were always flying a warship. Where’s the fun in that? Other than the vast firepower available of course.
#2: Cocky Warrior Princess (and their hair-dos)
The politically correct term would be strong, independent female leads. Isn’t that a bit boring? This archetype is almost as old as space opera itself, possible originating in Edgar Rice Burroughs’s novel A Princess of Mars. Not to mention, Princess Leia’s iconic cinnamon bun hair-do has been forever ingrained as a cultural celebrity moment.
#1: Aliens
Aliens take the number one spot because of the color, variety, and imagination added to a story. Make them good, bad, ugly, slimy, or shimmering energy beings. Just make them unique and exotic. Nothing make’s a boring bar, excuse me, cantina scene more interesting than some two-headed aliens, a scary furry thing, and some other wildly creative aliens hanging about. Robert Heinlein’s space operas were good, but they were a bit bland with the best aliens being primitive frog things on Venus. Not much to go on there.
Conclusion: The rule of cool either works really well for space opera, or was invented for space opera. Remember this list (but be creative) and you’re space opera will have a chance at becoming as memorable as Star Wars. Maybe.
Translation please? FTL FTW is an acronym made of two separate acronyms that stands for the phrase “faster than light travel for the win.” That’s quite a mouthful there. More importantly, what does that mean? Well, one of the key elements of space opera is a big setting. That takes really, really fast travel methods to prevent you’re story from becoming the space version of a road trip without the
#4: Giant Super-weapons
These monstrous symbols for man-kind’s ruthlessness and technological weapons improvement bring about high stakes and pulse-pounding adventure while oftentimes thumbing their nose at modern science (or treaties). Perfect for space opera, aye? Seriously though, space opera is all about being big and exciting. Plus, there are brownie points involved from the special effects, sometimes billions of dollars of profit. (Avatar anyone?)
#3: Battered Freighters
Maybe it has to do with the plucky underdog valiantly fighting better, more modern ships, but battered are almost a staple, nay, a cliché of the genre. Albeit, a lovable one, much like those scruffy rogues who pilot them. Or, perhaps, it’s the rogue that makes the ship. Nah, definitely the ship. Star Trek, in my opinion, is not that great of a space opera for several reasons, from boring costumes to not being all that fun for the whole family (a whole different post), plus the heroes were always flying a warship. Where’s the fun in that? Other than the vast firepower available of course.
#2: Cocky Warrior Princess (and their hair-dos)
The politically correct term would be strong, independent female leads. Isn’t that a bit boring? This archetype is almost as old as space opera itself, possible originating in Edgar Rice Burroughs’s novel A Princess of Mars. Not to mention, Princess Leia’s iconic cinnamon bun hair-do has been forever ingrained as a cultural celebrity moment.
#1: Aliens
Aliens take the number one spot because of the color, variety, and imagination added to a story. Make them good, bad, ugly, slimy, or shimmering energy beings. Just make them unique and exotic. Nothing make’s a boring bar, excuse me, cantina scene more interesting than some two-headed aliens, a scary furry thing, and some other wildly creative aliens hanging about. Robert Heinlein’s space operas were good, but they were a bit bland with the best aliens being primitive frog things on Venus. Not much to go on there.
Conclusion: The rule of cool either works really well for space opera, or was invented for space opera. Remember this list (but be creative) and you’re space opera will have a chance at becoming as memorable as Star Wars. Maybe.
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